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Nat Lipstadt Dec 2013
Nothing So Sensuous


Last night, I went back in time and met Alice Liddell in 1862.  
Alice Pleasance Liddell, known for most of her adult life by her married name, Alice Hargreaves, inspired the children's classic Alice's Adventures in Wonderland by Lewis Carroll, whose protagonist Alice is said to be named after her.  See her, greet her, in my banner photo, and all will clear.
~~~~~~~~~

nothing so sensuous
as to watch a woman,
nay, a woman child,
brush her hair
in the mirror.

sensuous,
more than sensual,
all my senses
affected.

luxuriating in a gift that
cannot be
bought,
her head titled,
then thrown
from her chest as far back,
your eyes see waves
of chestnut in
slow motion,
the smile on her face
for the knowing that
she has
sorcerer succeeded
in capturing
all of you.

mesmerizer,
she languidly strokes
her hair,
though it needs it not.
no, she brushes you
to your
knees,
your eyes,
see her eyes,
in the mirror,
the woman's sensuality
maddening.

every sense alerted,
you body fired,
far beyond
merely stirred,
she has you,
and then she asks...

would you brush my hair?
have you ever been in love?
have you ever had to tell someone
you no longer loved them
though you still did?


you answer:

Oh yes, Oh may I?

yes, with you totally, at this very instant.

yes, for I
must leave you
and return to
my time, my age,
150 years from now


the only way
I can do that
is to lie to myself,
no, I do not love you
that much,
not that way,
pretense,
for the agony of this


impermissible desire

is such ecstasy,
that I can
only dare to
write of it,
in my time,
lest I fulfill
it in ours.
A true story, a true adventure. If u want to time travel with me, then u must come to NYC, for that is where I depart.  All expenses paid for time travel.  You come here, we travel. Must be 21 and over and bring proof of age.  They are Fussy, about that!
Also, must make reservation well in advance. Small time travel machine accommodates only 15 people....and currently the only "destination" is Victorian England.
louis rams Aug 2010
I kissed the most sensuous lips that I ever saw.
The most sensuous lips and I wanted more.
Her lips so soft, so gentle, so moist.
And the whispering of her voice.

Why is it that you love my lips so?
Is there something that I should know?

I said:  when I kiss your lips I feel like
I am floating on air, and it relieves
All my worries and cares.
It puts me into a place I’ve never been before
And I’m wanting more and more.

It’s like taking a trip to the heavens above
And it shows me all your love.
Like a baby in the warmth of the mothers stomach
Safe and never rejected- but always protected.

How can a woman s lips put a mans soul on fire
And fill his heart with a burning desire?
How can her lips make you feel that you
Could move heaven and earth?
How can she show you what life is worth?

Her lips so gentle, so soft, so moist
So refreshing, so everlasting!

The taste of her lips like the taste of
The most desirable nectar on this earth
Filling my body and soul
Making me complete- making me whole.

Why do I love your lips so?
This is why!
And now you know.
Inked Quill Aug 2018
Dear Darling
What turns me on
Isn’t the thought of you
On that date
That you held me
At my waist
Pulling me to you
What turns me on
Is what your tongue
Can do to the moist heat
Between my legs
And I look forward
To a sensuous serendipity
When it’s least expected of you
Sa May 2015
Woodsy smell
Gentle touch
Husky voice
Sensuous words
Teasing smile
Steady, mysterious eyes
~
Appealing to my five senses
Seducing me, tenderly,
your sweet and spicy nothings.
Cory Ellis Jun 2013
Hey guys. This isn't truly a poem but a paper I wrote for English class. I wanted to share this view with people and this is the only vehicle I knew to use. So here it is. I hope you enjoy it.
-------------------------------------------------------------­--------------------------------------------------


The amplifiers were turned up to ten. The young and fresh crowd looked at us with anticipation.

What were they waiting for? As the music began I noticed the subtle movements and growing tension in

the crowd. Men shook their heads and we shook ours in a violent duet between the crowd and

performer. Women and men flailed their limbs as they awaited the ******. We knew when it was

coming; they did not. When we decided to let it all go I witnessed something crazy! There was a brief

pause in the music and when it began again we kicked it into overdrive. We shook our heads with a

more frantic pace. We jumped about like madmen. The crowd erupted; it became its own entity. You

could feel the heat and power of this new creature. We were locked in a violent psychic-sphere of

crazed young teens and when the ****** was over there seemed to be a sense of relief and happiness

in the crowd. Had my after school hobby become a healing agent, even if only temporary, in society?

This papers purpose is an attempt at piecing together the phenomena of catharsis by merging

philosophy, psychology, history and spirituality.



First, to understand the psychology of catharsis we must think back to the roots of this behavior. Since

human life has existed we’ve formed crowds for various reasons. The first reason held the sole purpose

of protection. Tribes of people, men as hunters and women as gatherers, teamed up for the benefit of

human survival. Erich Fromm says that “the meaning of life is not to be found in its fullest unfolding but

in social service and social duties; that the development, freedom, and happiness of the individual is

subordinate or even irrelevant in comparison to the welfare of the state.”(Fromm, 1947, page 51) This

states that a crowd is actually very necessary to the function of human life. The second reason crowds

gathered was in form of revel, shamanistic healing and worship of deities (Ehrenreich, 30). Men and

woman would often enter trances, speak in tongues and become involved in a collective ecstasy while in

worship of their God. In later years, politics, entertainment and rebellion or protest was a main factor in

the gathering of people (Ehrenreich, 102). People gathered at Festivals that were in the midst of being

suppressed and would dance in mockery of their Kings or leaders.



What exactly is catharsis? Catharsis is a purging of emotional tension brought out in a crowd through

the viewing of a tragedy or tragic play. In the article “The Power of Catharsis” Kearny says the following

More specifically he (Aristotle) defined

the function of catharsis as 'purgation of pity and fear'. This comes

about, he explains, whenever the dramatic imitation of certain actions

arouses pity and fear in order to provide an outlet for pity and fear.

The recounting of experience through the formal medium of plot,

fiction or spectacle permits us to repeat the past forward so to speak.

And this very act of creative repetition allows for a certain kind of

pleasure or release. In the play of narrative re-creation we are invited

to revisit our lives — through the actions and personas of others — so

as to live them otherwise. We discover a way to give a future to

the past. (Kearny 1)

I figure that, even though he states that it is a purgation of pity and fear, it could also be involved with

many other suppressed emotions. Take my introduction for example. These kids were not releasing

pity and fear, they were releasing their angst! They were releasing their desire for competition.

They were making up for the violent feelings of agression they felt in their body that had been

suppressed by society for so long! They were revolting! Could catharsis also be used to purge other

emotions as well such as ****** suppression or communicative issues?





How would one come about actually attempting this catharsis that I speak of? We need to first look at

some ways in which people have controlled crowds in the past and realize that crowds form by

themselves but often look for leadership due to what Nietzche called that “herd mentality.”

In the article “Seducing the Crowd” by Urs Staheli it mentions that repetition is a key factor in beginning

to control the crowd. (Staheli, 69) This means that through repetition you can get the crowd to side with

your beliefs. The crowd could begin to think about what your suggesting and potentially be swayed by

the other people that are now following your ideas. It could also be repetition of body movements as

well. What better vehicle is there to sway a crowd than music? It’s repetitive in instrumental and lyrical

form!



Another way to “******” a crowd is to act like a madman! Specifically how I stumbled upon this in

the first phenomena place.

The leader himself is possessed and hypnotized by the ideas

and visions he holds, obsessed to such an extent that he cannot rationally exercise

control over the crowd. Instead, he devotes himself to fascinating the

crowd by more ecstatic means.8 He often resembles a madman but fascinates

by the mere power of his determination. What distinguishes the leader from

the rest of the crowd is his will alone, not any particular intellectual capacity

or a superior morality. (Staheli, 68)

The theory is that through mythological story telling or acting tragically and in a spectacle, we can

actually release negative emotions and potentially even heal neuroses or psychic ailments. Later in the

article he goes on to say that a shaman was actually documented to have cured a woman with a blocked

birth canal and in labor by telling her a story about a warrior trying to exit a cave that had monsters on

the outside trying to get in.

The function of a shaman is to heal his tribe. He uses drugs or plants to change his state of mind and

then by going over to the other side of reality he invokes spirits that help to heal.

In the séance, the shaman led. A sensuous panic, deliberately evoked through drugs, chants,

dancing, hurls the shaman into trance. Changed voice; convulsive movement. He acts like a

madman. These professional hysterics, chosen precisely for their psychotic leaning, were once

esteemed. They mediated between man and spirit world. Their mental travels formed the crux

of the religious life of the tribe. (Morrison 1967 pg. 71)

This shows an ecstatic crowd dancing and chanting while one man acts out a tragic spectacle. Through

this spectacle the shaman acts like a madman. This causes wild emotions within the crowd and allows it

to release their built up and suppressed emotions. Also, the dance and chants bring them to a feeling of

unity and oneness!



One may not believe in the spiritual shaman because of their own beliefs about God and religion. Some

may not believe in the other world that parallels our own.  It is a skeptical concept without a doubt and

there are probably many people who disagree with the legitimacy of the shaman. Is there a way that we

could think of the phenomena in a psychological sense rather than strictly spiritual? The answer lies in

Carl Jung’s theory of the unconscious mind and dream therapy as well as in Nietzche’s philosophy on art

and aesthetics.  



Carl Jung believed that there is a conscious mind and an unconscious mind. The conscious mind is the

everyday mind that occurs in waking life. It is rational and helps us survive. The unconscious mind can

be found in dreams or whenever you experience a déjà vu (Jung 1964 21).  He also believed that through

the study of dreams you could heal certain aspects of your psyche that have been altered by neuroses.

Symbols and archetypes make up dreams and the unconscious, and often you will find that archetypes

appear in the form  of people. Jung believes that through living in society that men and women have lost

touch with their feminine or masculine characteristics depending on their gender. Dreams can help us

get back into union with these lost roles through connecting us with our anima(female) or animus

(male) through symbols in our dreams or unconscious minds. Jung wrote that when society was

formed people took on roles and caused a dissociation in their psyche and caused a duality rather

than a unity when they suppressed one side of their mind.  He mentioned that at all times the

unconscious mind is connecting us on a psychic level.



How does this tie into shamans and catharsis? It seems like something completely different all together

right? My theory is that the shaman or crowd leader brings forth a forgotten union of the masculine and

feminine forces in the universe. Nietzche believed that there are two polar forces that are natural in this

world and in art. These forces are given the names of deities in his book “The Birth of Tragedy.”

The first is the Apollonian force that is masculine. This force in art governs form and dreams. The

Apollonian artist directly takes ideas from his dreams and brings them to life whether it is in form

sculpture or poetry. Apollo appears through an oracle often in tragedy or in visions of the waking life.

The second force is the Dionysian which is feminine. This force governs intoxication, revel and ecstasy.

Dionysian artists are improvisers and dancers and are usually tragic figures. Nietzche believed there are

three different types of artists: Apollonian, Dionysian and the fusion of both (Nietzche 1872 14). This

latter artist is what I believe the shaman is.



Through connecting these polarizing forces he fixes the psychic neuroses in his own mind. He becomes

a unified artist, or a magician of duality. The shaman, as stated above, takes drugs to intoxicate himself.

Often the drug of choice is wine or alcohol though it could be hallucinogenic drugs as well. This tied with

repetitive revel is the Dionysian side of the spectrum and also helps draw the crowd’s attention through

spectacle and repetition. Everybody is ecstatic and experiencing the collective vibrations of the crowd.

Through his intoxication he is able to go into the unconscious mind and produce dream symbols in

reality! The crowd follows the leader into this unconscious mind and brings back forgotten wisdom of

mythology and archetypes. This is the Apollonian side of the spectrum because it deals with the

unconscious mind and dream images. It also could be this “other world” that traditional shamans speak

of. Now the psychic duality is merged and a tie is formed between the masculine and feminine forces of

nature! People feel at one with themselves and the crowd and the societal suppression is vanished

briefly. All the neuroses caused by the suppression fades away in the ecstatic revel. This is the appeal of

the rock concert. Notice how many leading figures of rock bands have androgynous features and

shamanistic nature. This is because they have fixed the psychic neuroses in their own mind and become

at peace with the masculine and feminine duality of their psyche.



Stumbling upon this phenomena in my rebellious youth was very eye opening. Ever since I have been  

very excited about this theory and I’ve been trying to piece it together. It seems to be coming along

further and further in my study of this. What exactly this ancient wisdom is; I don’t entirely know. I

do know that I have witnessed this in reality and the subject is interesting and fascinating. My theory

still has a lot of work before it is completed but I think that within this article I’ve given a decent

amount of history about the topic as well as my own thoughts. Whether this phenomena is true or

not, we can leave that up to the psychologists and philosophers to decide, though I think many may

agree. Either way, catharsis surely does exist and it is a fun way of entertainment as well as a

therapeutic option for many stressed out individuals out there
J A M Aug 2014
A gentle breeze
Forever remembered
A luscious glade
Cold under your feet
A rich blue sky
Seemingly unreal
Beautifully arousing aromas
Tasting without touch
Pleasingly soft sand
To bathe yourself in
A sensuous bed of leaves
To wrap yourself in
A pleasurably warm ocean
Stimulating your senses
Lustful love
Forever wanting
Incapacitating desire
Depriving your concentration
You lose yourself
In natures tempting ways
Seducing you to stay
Jonny Angel Apr 2014
My mind is forever playing
sensuous-tricks on me,
constantly,
I am engulfed
by your moist-tenderness,
crumpling my silken sheets,
hugging
& kissing my
empty pillow
& still lying here
alone.
Flesh is heretic.
My body is a witch.
I am burning it.

Yes I am torching
ber curves and paps and wiles.
They scorch in my self denials.

How she meshed my head
in the half-truths
of her fevers

till I renounced
milk and honey
and the taste of lunch.

I vomited
her hungers.
Now the ***** is burning.

I am starved and curveless.
I am skin and bone.
She has learned her lesson.

Thin as a rib
I turn in sleep.
My dreams probe

a claustrophobia
a sensuous enclosure.
How warm it was and wide

once by a warm drum,
once by the song of his breath
and in his sleeping side.

Only a little more,
only a few more days
sinless, foodless,

I will slip
back into him again
as if I had never been away.

Caged so
I will grow
angular and holy

past pain,
keeping his heart
such company

as will make me forget
in a small space
the fall

into forked dark,
into python needs
heaving to hips and *******
and lips and heat
and sweat and fat and greed.
Fah Mar 2014
The sensation,
sensuous.
Incarnations ,
remember
us?

Carved on cave walls &
sung on birds beak
in gliding flight
from past
slingshot
through to the future,
falling into a deeper than seen river ,
of now
serpentine bodies ,
flex
tense,
flex our god/ess
muscles to learn & teach
of the
forgotten
apple of knowledge.

Carnal sin is
redemption.

The real question is..
*Who were the Snakes?
<3
Geno Cattouse Jun 2013
Tell me love,what I must do.
I know the landscape in essnce
I am no pretender.

Inspiration then perspiration
A torrid sweat as the tempo.  Rises BUT...
Allow me to speak your
name in fervent whisper
Again and again.

Permit me to traverse your mind
As your sensuous body follows.


I am there. Now here now all places at once



Seeking. Seeking
The small of your back
I am listening as your breathing hastens then slacks.

Feeling as your body shudders. Reaches and entwines.
Allow me access ever so gently.

Tasting. Savouring the hollows and curves
The recesses. The tactile mounds the essense of you.
Dam this poem is making my hands shake.

We are molded skin to skin now. A rythym.
Hot . A dance. Stay with me darling this is nirvana.
Where do I end and you begin.

One.
I feel your desire your wanting to peak.but slow now soft now
The moment awaits still. We will batter the gates stil and come rushing
To ******. As one. Stay. Slow .soft.

Here and now my darling. Hold tight as we soar my love
Over the falls we go to wash in a tide of release.
Yes. Yes.
We are there.
Anthony Williams Jul 2014
It was always going to be black and white
that's the typeface on my preference of late
defining day and night with your choice of tights
those fine dividing lines on your partnered limbs
wrapped tall in belts daring as a Lara Croft climb
a silky striped raggedy ann gone neat sensuous
tight strapped to a two striking sinuous princess
committed to lodge sins inside my Loveland challenge
hemmed in round towers together to never-never unhinge

at home we horse around and rub along together
boosted by the interplay between cotton twill gathered
pulled low one side then canter balance riding high
as you level up to a line up of outbound thigh
saddled with a lovely leg stirrup over here
and a lean waist wobble to match up there
eyebrow lifts to starch arrowroot attention
over the swings and sway of every action
so swift I play catch-up each morning
delayed by fumbling for ones gone matching
it's a wonder you don't just wander away
in a daze from my one legged hopping display

then I would travel far as a bee
long-legged as stilts could be
to sing to your nails and feet
and be spun free flaunting
our google
a red white and blue
pair of giggles unfurled like flags
in your slim line dancers' legs
dangling ideas like fair weather socks
to goggle one direction behind your back
unique like nobody else contains within
thin licked then rolled back ciggie skins
so I pinch holes in the bacci parts
sinking into slats like leaky wooden boats
your avoiding tiptoes gadfly and curl in return
my feet undoing knits with swats and swirls
toeing tinkling notes like piano keys
undertones pink tinged with tingling knees
and when a jukebox plays
my coins are there always
for I've got your pop socks in motion
your vox populi's united under my skin
with impressive pulled tight bands
embedding imprint elastic rings
inky red slinking down
leaving parallel links


ignore my pins and needles
alone in dead of night
longing for your leggings
luminous stripe tights
today it's all me put on the spot
today it's music you might hate
biographies of people you don't like
subtitled movies too deep to bother
blue jeans dull dyed against your garter belt
a one man team can't DIY a drill majorette
spiralling shafts that come to a threaded point
enthralling with alternating knee bend bit pants
so pretty poly soft I'm pulled up like a fool
fully mixed up by your weaving cotton wool
wave me down in your way of sweet patter feet
a patterned cakewalk for you to catwalk sock it
to me in a stand in posey kind of way
this way to stand outs knitted to fancy
uncross your legs and cross-stitch
my path with gaited kisses
closely
by Anthony Williams
Ian Beckett Dec 2012
She makes him sit and unbuttons his shirt
Makes him lie back and wets his hair, then
Her hands massage shampoo into his scalp
She is irresistible, every moment etched on
His brain, her sensuous touch, an incredibly
Close feeling, as she washes his hair, this is
More beautiful than breath, more loving than
***, more electric than near, more perfect
Than curling up, more intimate than naked.
Jonny Angel Apr 2014
Are you there
Miss Clairvoyance?

I feel your electrifying hands
reaching out to touch me,
to soothe me into submission.

I feel your weight
pressing down on me,
holding me tightly
with your finery.

I am breathless,
your sensuous conduit,
lost in a world
of extra sensory
perceptions,
feeling your
spasmodic-ripples,
inhaling your spirit.
But some good Triton-god had ruth, and bare
The boy’s drowned body back to Grecian land,
And mermaids combed his dank and dripping hair
And smoothed his brow, and loosed his clenching hand;
Some brought sweet spices from far Araby,
And others bade the halcyon sing her softest lullaby.

And when he neared his old Athenian home,
A mighty billow rose up suddenly
Upon whose oily back the clotted foam
Lay diapered in some strange fantasy,
And clasping him unto its glassy breast
Swept landward, like a white-maned steed upon a venturous quest!

Now where Colonos leans unto the sea
There lies a long and level stretch of lawn;
The rabbit knows it, and the mountain bee
For it deserts Hymettus, and the Faun
Is not afraid, for never through the day
Comes a cry ruder than the shout of shepherd lads at play.

But often from the thorny labyrinth
And tangled branches of the circling wood
The stealthy hunter sees young Hyacinth
Hurling the polished disk, and draws his hood
Over his guilty gaze, and creeps away,
Nor dares to wind his horn, or—else at the first break of day

The Dryads come and throw the leathern ball
Along the reedy shore, and circumvent
Some goat-eared Pan to be their seneschal
For fear of bold Poseidon’s ravishment,
And loose their girdles, with shy timorous eyes,
Lest from the surf his azure arms and purple beard should rise.

On this side and on that a rocky cave,
Hung with the yellow-belled laburnum, stands
Smooth is the beach, save where some ebbing wave
Leaves its faint outline etched upon the sands,
As though it feared to be too soon forgot
By the green rush, its playfellow,—and yet, it is a spot

So small, that the inconstant butterfly
Could steal the hoarded money from each flower
Ere it was noon, and still not satisfy
Its over-greedy love,—within an hour
A sailor boy, were he but rude enow
To land and pluck a garland for his galley’s painted prow,

Would almost leave the little meadow bare,
For it knows nothing of great pageantry,
Only a few narcissi here and there
Stand separate in sweet austerity,
Dotting the unmown grass with silver stars,
And here and there a daffodil waves tiny scimitars.

Hither the billow brought him, and was glad
Of such dear servitude, and where the land
Was ****** of all waters laid the lad
Upon the golden margent of the strand,
And like a lingering lover oft returned
To kiss those pallid limbs which once with intense fire burned,

Ere the wet seas had quenched that holocaust,
That self-fed flame, that passionate lustihead,
Ere grisly death with chill and nipping frost
Had withered up those lilies white and red
Which, while the boy would through the forest range,
Answered each other in a sweet antiphonal counter-change.

And when at dawn the wood-nymphs, hand-in-hand,
Threaded the bosky dell, their satyr spied
The boy’s pale body stretched upon the sand,
And feared Poseidon’s treachery, and cried,
And like bright sunbeams flitting through a glade
Each startled Dryad sought some safe and leafy ambuscade.

Save one white girl, who deemed it would not be
So dread a thing to feel a sea-god’s arms
Crushing her ******* in amorous tyranny,
And longed to listen to those subtle charms
Insidious lovers weave when they would win
Some fenced fortress, and stole back again, nor thought it sin

To yield her treasure unto one so fair,
And lay beside him, thirsty with love’s drouth,
Called him soft names, played with his tangled hair,
And with hot lips made havoc of his mouth
Afraid he might not wake, and then afraid
Lest he might wake too soon, fled back, and then, fond renegade,

Returned to fresh assault, and all day long
Sat at his side, and laughed at her new toy,
And held his hand, and sang her sweetest song,
Then frowned to see how froward was the boy
Who would not with her maidenhood entwine,
Nor knew that three days since his eyes had looked on Proserpine;

Nor knew what sacrilege his lips had done,
But said, ‘He will awake, I know him well,
He will awake at evening when the sun
Hangs his red shield on Corinth’s citadel;
This sleep is but a cruel treachery
To make me love him more, and in some cavern of the sea

Deeper than ever falls the fisher’s line
Already a huge Triton blows his horn,
And weaves a garland from the crystalline
And drifting ocean-tendrils to adorn
The emerald pillars of our bridal bed,
For sphered in foaming silver, and with coral crowned head,

We two will sit upon a throne of pearl,
And a blue wave will be our canopy,
And at our feet the water-snakes will curl
In all their amethystine panoply
Of diamonded mail, and we will mark
The mullets swimming by the mast of some storm-foundered bark,

Vermilion-finned with eyes of bossy gold
Like flakes of crimson light, and the great deep
His glassy-portaled chamber will unfold,
And we will see the painted dolphins sleep
Cradled by murmuring halcyons on the rocks
Where Proteus in quaint suit of green pastures his monstrous
flocks.

And tremulous opal-hued anemones
Will wave their purple fringes where we tread
Upon the mirrored floor, and argosies
Of fishes flecked with tawny scales will thread
The drifting cordage of the shattered wreck,
And honey-coloured amber beads our twining limbs will deck.’

But when that baffled Lord of War the Sun
With gaudy pennon flying passed away
Into his brazen House, and one by one
The little yellow stars began to stray
Across the field of heaven, ah! then indeed
She feared his lips upon her lips would never care to feed,

And cried, ‘Awake, already the pale moon
Washes the trees with silver, and the wave
Creeps grey and chilly up this sandy dune,
The croaking frogs are out, and from the cave
The nightjar shrieks, the fluttering bats repass,
And the brown stoat with hollow flanks creeps through the dusky
grass.

Nay, though thou art a god, be not so coy,
For in yon stream there is a little reed
That often whispers how a lovely boy
Lay with her once upon a grassy mead,
Who when his cruel pleasure he had done
Spread wings of rustling gold and soared aloft into the sun.

Be not so coy, the laurel trembles still
With great Apollo’s kisses, and the fir
Whose clustering sisters fringe the seaward hill
Hath many a tale of that bold ravisher
Whom men call Boreas, and I have seen
The mocking eyes of Hermes through the poplar’s silvery sheen.

Even the jealous Naiads call me fair,
And every morn a young and ruddy swain
Woos me with apples and with locks of hair,
And seeks to soothe my virginal disdain
By all the gifts the gentle wood-nymphs love;
But yesterday he brought to me an iris-plumaged dove

With little crimson feet, which with its store
Of seven spotted eggs the cruel lad
Had stolen from the lofty sycamore
At daybreak, when her amorous comrade had
Flown off in search of berried juniper
Which most they love; the fretful wasp, that earliest vintager

Of the blue grapes, hath not persistency
So constant as this simple shepherd-boy
For my poor lips, his joyous purity
And laughing sunny eyes might well decoy
A Dryad from her oath to Artemis;
For very beautiful is he, his mouth was made to kiss;

His argent forehead, like a rising moon
Over the dusky hills of meeting brows,
Is crescent shaped, the hot and Tyrian noon
Leads from the myrtle-grove no goodlier spouse
For Cytheraea, the first silky down
Fringes his blushing cheeks, and his young limbs are strong and
brown;

And he is rich, and fat and fleecy herds
Of bleating sheep upon his meadows lie,
And many an earthen bowl of yellow curds
Is in his homestead for the thievish fly
To swim and drown in, the pink clover mead
Keeps its sweet store for him, and he can pipe on oaten reed.

And yet I love him not; it was for thee
I kept my love; I knew that thou would’st come
To rid me of this pallid chastity,
Thou fairest flower of the flowerless foam
Of all the wide AEgean, brightest star
Of ocean’s azure heavens where the mirrored planets are!

I knew that thou would’st come, for when at first
The dry wood burgeoned, and the sap of spring
Swelled in my green and tender bark or burst
To myriad multitudinous blossoming
Which mocked the midnight with its mimic moons
That did not dread the dawn, and first the thrushes’ rapturous
tunes

Startled the squirrel from its granary,
And cuckoo flowers fringed the narrow lane,
Through my young leaves a sensuous ecstasy
Crept like new wine, and every mossy vein
Throbbed with the fitful pulse of amorous blood,
And the wild winds of passion shook my slim stem’s maidenhood.

The trooping fawns at evening came and laid
Their cool black noses on my lowest boughs,
And on my topmost branch the blackbird made
A little nest of grasses for his spouse,
And now and then a twittering wren would light
On a thin twig which hardly bare the weight of such delight.

I was the Attic shepherd’s trysting place,
Beneath my shadow Amaryllis lay,
And round my trunk would laughing Daphnis chase
The timorous girl, till tired out with play
She felt his hot breath stir her tangled hair,
And turned, and looked, and fled no more from such delightful
snare.

Then come away unto my ambuscade
Where clustering woodbine weaves a canopy
For amorous pleasaunce, and the rustling shade
Of Paphian myrtles seems to sanctify
The dearest rites of love; there in the cool
And green recesses of its farthest depth there is pool,

The ouzel’s haunt, the wild bee’s pasturage,
For round its rim great creamy lilies float
Through their flat leaves in verdant anchorage,
Each cup a white-sailed golden-laden boat
Steered by a dragon-fly,—be not afraid
To leave this wan and wave-kissed shore, surely the place was made

For lovers such as we; the Cyprian Queen,
One arm around her boyish paramour,
Strays often there at eve, and I have seen
The moon strip off her misty vestiture
For young Endymion’s eyes; be not afraid,
The panther feet of Dian never tread that secret glade.

Nay if thou will’st, back to the beating brine,
Back to the boisterous billow let us go,
And walk all day beneath the hyaline
Huge vault of Neptune’s watery portico,
And watch the purple monsters of the deep
Sport in ungainly play, and from his lair keen Xiphias leap.

For if my mistress find me lying here
She will not ruth or gentle pity show,
But lay her boar-spear down, and with austere
Relentless fingers string the cornel bow,
And draw the feathered notch against her breast,
And loose the arched cord; aye, even now upon the quest

I hear her hurrying feet,—awake, awake,
Thou laggard in love’s battle! once at least
Let me drink deep of passion’s wine, and slake
My parched being with the nectarous feast
Which even gods affect!  O come, Love, come,
Still we have time to reach the cavern of thine azure home.’

Scarce had she spoken when the shuddering trees
Shook, and the leaves divided, and the air
Grew conscious of a god, and the grey seas
Crawled backward, and a long and dismal blare
Blew from some tasselled horn, a sleuth-hound bayed,
And like a flame a barbed reed flew whizzing down the glade.

And where the little flowers of her breast
Just brake into their milky blossoming,
This murderous paramour, this unbidden guest,
Pierced and struck deep in horrid chambering,
And ploughed a ****** furrow with its dart,
And dug a long red road, and cleft with winged death her heart.

Sobbing her life out with a bitter cry
On the boy’s body fell the Dryad maid,
Sobbing for incomplete virginity,
And raptures unenjoyed, and pleasures dead,
And all the pain of things unsatisfied,
And the bright drops of crimson youth crept down her throbbing
side.

Ah! pitiful it was to hear her moan,
And very pitiful to see her die
Ere she had yielded up her sweets, or known
The joy of passion, that dread mystery
Which not to know is not to live at all,
And yet to know is to be held in death’s most deadly thrall.

But as it hapt the Queen of Cythere,
Who with Adonis all night long had lain
Within some shepherd’s hut in Arcady,
On team of silver doves and gilded wain
Was journeying Paphos-ward, high up afar
From mortal ken between the mountains and the morning star,

And when low down she spied the hapless pair,
And heard the Oread’s faint despairing cry,
Whose cadence seemed to play upon the air
As though it were a viol, hastily
She bade her pigeons fold each straining plume,
And dropt to earth, and reached the strand, and saw their dolorous
doom.

For as a gardener turning back his head
To catch the last notes of the linnet, mows
With careless scythe too near some flower bed,
And cuts the thorny pillar of the rose,
And with the flower’s loosened loneliness
Strews the brown mould; or as some shepherd lad in wantonness

Driving his little flock along the mead
Treads down two daffodils, which side by aide
Have lured the lady-bird with yellow brede
And made the gaudy moth forget its pride,
Treads down their brimming golden chalices
Under light feet which were not made for such rude ravages;

Or as a schoolboy tired of his book
Flings himself down upon the reedy grass
And plucks two water-lilies from the brook,
And for a time forgets the hour glass,
Then wearies of their sweets, and goes his way,
And lets the hot sun **** them, even go these lovers lay.

And Venus cried, ‘It is dread Artemis
Whose bitter hand hath wrought this cruelty,
Or else that mightier maid whose care it is
To guard her strong and stainless majesty
Upon the hill Athenian,—alas!
That they who loved so well unloved into Death’s house should
pass.’

So with soft hands she laid the boy and girl
In the great golden waggon tenderly
(Her white throat whiter than a moony pearl
Just threaded with a blue vein’s tapestry
Had not yet ceased to throb, and still her breast
Swayed like a wind-stirred lily in ambiguous unrest)

And then each pigeon spread its milky van,
The bright car soared into the dawning sky,
And like a cloud the aerial caravan
Passed over the AEgean silently,
Till the faint air was troubled with the song
From the wan mouths that call on bleeding Thammuz all night long.

But when the doves had reached their wonted goal
Where the wide stair of orbed marble dips
Its snows into the sea, her fluttering soul
Just shook the trembling petals of her lips
And passed into the void, and Venus knew
That one fair maid the less would walk amid her retinue,

And bade her servants carve a cedar chest
With all the wonder of this history,
Within whose scented womb their limbs should rest
Where olive-trees make tender the blue sky
On the low hills of Paphos, and the Faun
Pipes in the noonday, and the nightingale sings on till dawn.

Nor failed they to obey her hest, and ere
The morning bee had stung the daffodil
With tiny fretful spear, or from its lair
The waking stag had leapt across the rill
And roused the ouzel, or the lizard crept
Athwart the sunny rock, beneath the grass their bodies slept.

And when day brake, within that silver shrine
Fed by the flames of cressets tremulous,
Queen Venus knelt and prayed to Proserpine
That she whose beauty made Death amorous
Should beg a guerdon from her pallid Lord,
And let Desire pass across dread Charon’s icy ford.
judy smith Nov 2016
Shortly after 3pm on September 29, 31-year-old Olivier Rousteing strode through the shimmering, fleshy backstage area at Balmain's Spring 2017 Paris Fashion Week show. Along the marble hallway of a hôtel particulier in the 8th arrondissement, long-limbed clusters of supermodels were gamely tolerating final applications of leg-moisturiser, make-up touch-ups and minutely precise hair interventions from squads of specialists as fast and accurate as any Formula 1 pit-stop team. The crowd parted as Rousteing swept through.

Wearing a belted, black silk tuxedo and a focused expression that accentuated his razor-sharp cheekbones, Rousteing resembled a sensuous hit man. Target identified, he led us to the board upon which photographs of every outfit were tacked.

We asked him to tell us about the collection (for that's what fashion editors always ask). "There is no theme," said Rou­steing in his fast, French-accented lilt. "No inspiration from travel or time. The inspiration is what I feel, and what I feel now is peace, light and serenity. I feel like in my six years here before this, I have tried to fight so many battles. Because there is no point anymore in fighting about boundaries and limits in fashion. Balmain has its place in fashion."

And the clothes? "There is a lot of fluidity. A lot of knitwear, lightness, ponchos. No body-con dresses. But whatever I do, even if I cover up my girls, it is like people can say I am ******. So this is what it is. I think there is nothing ******. I think it is really chic. I think it is really French. It is how I see Paris. And I have had too many haters during the last three years to defend myself again. So, this is Balmain." And then the show began.

Star endorsements

Under Rousteing, Balmain has become the most controversial fashion house in Paris. Rousteing has attracted (but not bought, as other, far bigger houses do) patronage from contemporary culture's most significant influencers. Rihanna, all the Kardashians, Kanye West, Taylor Swift, Miley Cyrus, Beyoncé, Justin Bieber – a royal flush of modern celebrity aristocracy – all champion him.

Immediately after this show, in that backstage hubbub, Kim Kardashian told me: "I thought it was very powerful…I loved the sequins, and I loved all the big chain mail belts – that was probably my favourite."

Yet for every famous fan there is a member of the fashion establishment who will sniff over coffee in Le Castiglione that Rousteing's crowd is declassé and his aesthetic best described by that V-word. The New York Times' fashion critic Vanessa Friedman reckoned this collection appropriate for "dressing for the captain's dinners on a cruise ship to Fantasy Island". At least she did not use the V-word. When I once deployed it – as a compliment – in a 2015 Vogue menswear review that declared "Rousteing is confidently negotiating a fine line between extravagance and vulgarity", I was told that Rous­teing was aggrieved.

The fashion world's ambivalence towards Rousteing is a measure of its conflicted feelings towards much in contemporary culture. Last year Robin Givhan of the Washington Post wrote of Balmain: "The French fashion house is always ostentatious and sometimes ******. It feeds a voracious appetite for attention. It is anti-intellectual. Antagonistic. Emotional. It is shocking. It is perfect for this era of social media, which means it is powerfully, undeniably relevant."

Since joining Instagram four years ago Rousteing has posted 4000 images and won 4 million followers. The combined reach of his audience members and models at this Balmain show was greater than the population of Britain and France combined. Balmain was the first French fashion house to gain more than 1 million followers, and currently has 5.5 million of them.

Loving his haters

As digital technology disrupts fashion, Balmain's seemingly effortless mastery of the medium galls some. Last year, the designer posted an image of a comment from a ****** follower to his feed. It read: "Olivier Rousteing spends more times taking selfies for Instagram than designing clothes for Balmain." Underneath, in block capitals, he commented "i love my haters".

Rousteing can be funny and flip – doing a video interview after the show, I opened by asking, tritely, how he felt. He replied: "Now I feel like some Chicken McNuggets with barbecue sauce, and then some M&M;'s ice cream."

When at work, however, that flipness flips to entirely unflip. The previous evening, at a final fitting for the collection, Rousteing had paced his studio, his face a scowl of concentration, applying final edits to the outfits to be worn by models Doutzen Kroes and Alessandra Ambrosio. The 30-strong team of couturiers working in the adjoining atelier delivered a steady stream of altered dresses.

"We are ready," he said from behind a glass desk in a rare moment of downtime. "This a big show – 80 looks – and I want a collection that is full of both the commercial and couture. But it's smooth too. All of the girls are excited about the after-party and interested in the music. And eating pizza." In the corridor outside Gigi Hadid – this season's apex supermodel – was indeed eating pizza, with gusto.

The fitting went on until far beyond midnight; Rousteing, fiercely focused, demonstrated the work ethic for which he is famous. When he was studio manager for Christophe Decarnin, his predecessor at Balmain, the young then-unknown was always the first in and last out of the studio. Emmanuel Diemoz, who joined Balmain as finance controller in 2001 and became chief executive in 2011, says that his hard graft was one of the reasons he was chosen to succeed Decarnin.

"For sure it was quite a gamble," says Diemoz. "But we could see the talent of Olivier. Plus he understood the work of Christophe – who had helped the brand recover – so he represented continuity. He was a hard worker, clearly a leader, with a lot of creativity. Plus the size of the turnover at that time was not so huge. So we were able to take the risk."

Clear leader

Which is why, aged 24, Rousteing became the creative director of one of Paris's best known – but indubitably faded – fashion houses. In 2004 it had been close to bankruptcy. In 2012, Rousteing's first full year in charge, Balmain's sales were €30.4 million and its profit €3.1 million. In 2015, sales were €121.5 million and its profit €33 million. Vulgarity is subjective; numbers are not.

Rousteing, who is of mixed race, was adopted at five months by white parents and enjoyed an affluent and loving upbringing in Bordeaux. "My mum is an optician and my dad was running the port. They are both really scientific – not artistic. So I had that kind of life. Bordeaux is really bourgeois and really conservative, I have to say."

After an ill-starred three-month stint at law school – "I was doing international law. And I was like, 'oh my God, that is so boring'" – he did a fashion course that he managed to tolerate for five months.

"I found that really boring as well. I just don't like actually people who are trying to **** your dream. And I felt that is what my teachers were trying to do."

Obsessed with Gucci

Following a three-month internship in Rome – "also boring" – Rousteing became fascinated with Tom Ford's work at Gucci. "I was obsessed, obsessed, obsessed. Sometimes the press did not get it but I thought 'this is like genius, the new **** chic'. Obsessed, full stop."

He wanted to work there – "that was my dream" – but applied to every fashion house he could, and found an opportunity to intern at Roberto Cavalli. "They took me in from the beginning. I met Peter Dundas [then womenswear designer at the brand] and he said you are going to be my right hand – and start in four days."

Rousteing counts his five years in Italy as formative both creatively and commercially, but when the opportunity came to return to France in 2009 he leapt at it. "Christophe said he liked my work and that he needed someone to manage the studio. So two weeks later I was here. I loved Balmain at the time, when Christophe was in charge. It was all about rock 'n' roll chic, ****, Parisian. And he was appealing to a younger generation. You can see when brands become old but Balmain was touching this new audience. I always say Christophe's Balmain was Kate Moss but mine is Rihanna."

When Decarnin left and Rousteing replaced him, the response was a resounding "who?". His youth prompted some to anticipate failure.

"It was not easy at all. Every season I had the same questions." Furthermore, Rousteing (who has said he thinks of himself as neither black nor white) was the only non-white chief designer at a Parisian couture house. In a nation in which very few people of colour hold senior positions, his race may have contributed both to the establishment's suspicion of him and to his powerful sense of being an outsider.

'Beautiful spirit'

As he began to build a personal vernacular of close-fitted, heavily jewelled, gleefully grandiose menswear – fantastical uniform for a Rousteing-imagined gilded age – for both women and men, that V-word loomed.

"They asked, 'But is it luxury? Is it chic? Is it modern?' All those kinds of words. But you know there is no one definition [of fashion] even if people in Paris think there is. And, I'm sorry, but I think the crowd in fashion are those who understand the least what is avant-garde today."

In 2013 Rihanna visited the studio, met Rousteing, and reported all with multiple Instagram posts. "You are the most beautiful spirit, so down to earth and kind! @olivier_rousteing I think I'm in love!!! #Balmain." :')"

Rousteing met Kim Kardashian at a party in New York – they were drawn together, he recalls, because they were both shy – and was promptly invited to lunch with her family in Los Angeles.

An outsider in the firmament of old-guard Paris fashion, Rousteing was earning insider status within a new, and much more influential, supranational elite. He points out that Valentino, Saint Laurent and Pierre Balmain himself "were close to the jet set of their time. What I have on my front row is the people who inspire my generation".

From them, he learned a new way of doing business. "I think it was Rihanna and the music industry that first understood how Instagram can be part of the business world as well as the personal. But in fashion? When we started it was 'why do you post selfies? Why do we need to know your life, see you waking up, see you working? Why don't you keep it private'. And I was like 'you will see'."

Rousteing cheerfully declares his love for Facetune – "I don't have Botox but I do have digital Botox!" – an app that helps him airbrush his selfies and tweak those ski-***** cheekbones.

Reaching new population

From his office around the corner from Rousteing's, Diemoz adds: "When Olivier first proposed Balmain use social media, our investment in traditional media was costing a lot. Here was an alternative costing less but bringing huge visibility. It has been successful, quite rapidly…we decided to be less Parisian in a way but to speak to a new population. A brand has to be built around its heritage but we are proposing a new form of communication dedicated to a wider group of customers."

The impact of that strategy became apparent in 2015, when Rousteing and Balmain were invited to design a collection for the Swedish fast-fashion retailer H&M.; Within minutes of going on sale – and this is not hyperbole – the collection, available at vastly cheaper prices than Balmain-proper, had completely sold out. In London, customers fought on the pavement outside H&M;'s Regent Street branch. "Balmainia!" blared the headlines.

You have to move fast to get backstage after a Balmain show. I was out of my seat and trotting with purpose even before the string-heavy orchestra at the end of the catwalk had quite stopped playing Adele.

Rousteing had taken his bow merely seconds before. Still, too slow: I ended up in a clot of Rousteing well-wishers stuck in a corridor blocked by security guards. A Middle Eastern woman against whom I was indelicately jammed looked at me, laughed, shook her head, then said: "We pay millions for a fashion house – and then this happens!"

In June, Balmain was bought for a reported €485 million by Mayhoola, a Qatar-based wealth fund said to be controlled by the nation's ruling family. As so often with Rousteing-related revelations, some declared themselves nonplussed. "Why Would Mayhoola Pay Such a High Price for Balmain?", one headline asked. Yet Mayhoola, which acquired Valentino four years previously for $US858 million, might have scored a bargain.

Clothes key to revenue

Despite its huge, Instagram-enhanc­ed footprint, Balmain is a small, lean and relatively undeveloped business. Most luxury fashion houses today – Chanel, Burberry, Dior, et al – will emphasise their catwalk collections for marketing purposes but make most of their money from the sale of accessories, fragrances and small leather goods like handbags and shoes. One of the big fashion companies makes a mere 5 per cent from its catwalk clothes.

At Balmain, by contrast, clothes bring in almost all the revenues. If Balmain had the same clothes-to-accessories ratio as its competitors, its overall annual income could be more than €1 billion ($1.4 billion).

The company is moving in that direction. New accessory lines are in the pipeline. "Now we have to transform that desire into business activity," said Diemoz. "Sunglasses, belts, fragrances, the kind of products that can be more affordable."

The first bags should be available in January, as will a wider range of shoes, and then more, more, more.

Six days after his show, on the last day of Paris Fashion Week, I returned to the Balmain atelier. Apart from two assistants, Rousteing was the only person there – everybody else had gone on holiday to recover from the frenzy of preparing the show, or was busy selling the collection at the showroom around the corner.

Rousteing sat behind his desk in the empty room, wearing slingback leopard-print slippers, sweatpants and shades. "I am not even tired! I am excited. Because there are so many things happening – and I can't wait."Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | http://www.marieaustralia.com/formal-dresses-adelaide
ryn Aug 2014
Step right up and get in line
Produce your ticket, your seat I'll assign
Down the steps, then left to your row
Best you hurry, lights are dimmed low

Take your seat, settle in, be comfortable
The show will begin at the blow of the whistle
I'm your ringmaster, behold the spectacle
Welcome to your life, your very own circus carnival!

Be awed, be mystified, be entertained
Be ready to witness the life you've gained
You'll see fate defying feats and high wire decisions,
Emotion driven acrobats and will bending magicians!

First up, we have a duo, we have a pair
A man and a woman, whom you've learnt to care
Armed with big hearts along with hardened whips
Here are your tamers, they're yours for keeps

They'll attempt and try till their very last breaths
Keep you riveted, as they toy with death
Love with their hearts and their whips do straighten
Teach you lessons with firm handed affection

Stay put, you ain't seen nothing yet
Seen it all you think, but not this I'll bet
Bespectacled, they work alone but part of a guild
Pen juggling and book flipping, one aim to build

To impart all they know across varying disciplines
They'll get it done through different ways and means
Sit tight, do well, for you'll be rewarded
After their routine, you'd have learnt, your life you'd have charted

Put your hands together for next in tow
No my friend, it's not the end of the show
Let's welcome the one you'll soon come to seek
Dons a suit, you might see him five days a week

For sustenance, it is him that you will search
Hurls tight deadline projects from his obscure little perch
Equipped with a bow and bolts in his quiver
Shoots assignment laced arrows, makes sure you deliver

This last act would be the best
It could be true, no! It's no jest
Feast your eyes on your evening's temptress
With curves that could **** and garbed like a sorceress

Tease your heart aflame with wild raw magics
Render you submissive with her sensuous feline tricks
She could be the one, for whom you would have bled
She could be the only, you might want to wed

This finally marks the end of our night of nights
Night abundant with reflective imagery and titillating sights
Hope you've the enjoyed the performances we've lined
Hope we've lit the spark in your body and mind

Before we part and go on our own separate ways
Before the sun rises for the rest of our days
Allow me to leave you with one final say
"Life will be the ultimate circus; whether or not you choose to play".
A Tale of Two
Her Story>>>>
Today was my free day and I longed for some soothing nature time. I had my picnic basket with some food and wine. I wanted to enjoy my afternoon alone. I was just standing there, waiting for the cars to pass me so I could cross the street to the park. He walked by me and the wind blew his scent right to me. He smelled like heaven on earth.
I am very familiar with many scents and this one was new to me. I watched him walk past me. He was hansom with dark hair are mysterious eyes. His hair blowing in the breeze just as mine was. I love that feeling, being caressed by the wind. Before I knew it he was out of sight. I did not see where he had gone, for I had been day dreaming of what he would be like to kiss.
I continued on my way to the park and found a nice quiet place to read my book. I laid out my blanket and flung off my shoes. I wanted to lay there under the fading sun and enjoy the wind flirting with my dress while I read. It’s a warm windy day and its perfect. I had been reading for 30 minutes before I was warmly surprised by the smell that came to me. It was the smell of the man who had passed me. I looked up and saw him; he was standing over me with a poetry book in his hand. I smiled and invited him to sit down.

He smiled and introduced himself as a fellow nature lover. He didn’t tell me his name and at this point I was so surprised by his presence that it didn’t matter. I sat up and I asked him if he would join me in a glass of wine. He comically answered that he is sorry but we both cannot fit in that glass! I laughed and poured two classes of BlackStone red. He accepted with a smile. I lay back down on my stomach with my book half-open. My heart was beating so fast, he was right here with me and I could smell him, it was wonderful. We were strangers and I had no idea how he found me or why.
"What brings you to the park today?" I asked. He didn’t answer me, he just looked into my eyes for the longest time and then slowly bent down and kissed me. I thought my heart was going to be heard for miles. Surely he could hear it! It was a very long sweet kiss, perfect in every way, as if we had been kissing each other for years. I broke my lips free reluctantly and asked him once again, "who are you?" He opened his mouth and he said, "I came to the park today because you are here" I was speechless, I didn’t know what to say.

I turned over and lay on my back ready to question him again. He was right next to me, a man out of a dream, just appearing from no where. My mouth opened to ask once again who he was and as soon as I did his lips fell to mine in a long wet kiss. He was pure heaven to touch tongues with. I was enjoying myself too much to ask him anything. I dropped my book and heard the pages flapping in the wind while we kissed. My hands made their way to his dark hair and I could not help myself, I pulled him closer to me. There was no one around; we were in no danger of being seen. He moved closer to me and held me tight. I could not brake away from his kiss, nor did I want to.
He left my lips on his own, kissing my neck. He whispered in my ear "I have been watching you for a while now". I suddenly felt a little frightened. I do not know this man at all and yet he is kissing me. He reached past me and into my picnic basket. He pulled out the strawberries and nibbled on one while staring at me. I couldn’t speak, I was staring right back and it was like he had my mind engulfed with thoughts.
He then fed me a strawberry very slowly; juice ran down the side of my mouth. He reached down and licked it off with his tongue. I whimpered, I wanted him so bad. He picked up another berry and took a big bite, the juice feel on my chest between my *******. I looked him in the eyes, smiled and closed my eyes and waited for him to lick it off me. And he did, very slowly lick it off and trailed his tongue down the length of the opening of my blouse.
He began unbuttoning me, my hand went to stop him, and he reached out and held my hand. He kissed my fingers and said, "abandon all fears". I let my hand fall to the grass and let him unbutton me. I was wearing nothing under my shirt, no bra. I felt his breath touch me on my ******, and I felt it rise to a stiff peak. He took a bite of a strawberry and left half of it on the stem. He kissed me once again, and at the same time I felt the chill of the cold half strawberry touching my ******.
This was heaven, my god I felt a trickle of my own juice run from my *****. I was whimpering while he was kissing me. He touched me so slowly and with such care. The cold berry circling my ****** and the kiss at the same time was driving me wild. He moved and began ******* the strawberry mess of my ******. I held his head to my ****** for a moment, it felt so good. I felt his hand reach for my thigh, soft and warm hand just caressing me. He found my wetness and was surprised by it.
I smiled and giggled, what could I say. He looked right in my eyes and told me I was about to get a licking I would never forget. He was very right! He knew what he was doing, and he made me *** so fast I couldn’t believe it. I was in heaven. Still quivering and whimpering I rolled over on top of him. I kissed him like he was my long lost love. I quickly unbuttoned his pants while a stared at him with glazed satisfied eyes. I moved lower and found his throbbing **** staring at me. I took him into my mouth while I stared into his eyes. I saw the thrill he was having as the moistness from my mouth mixed with the wind as I moved up and down. He tasted and felt wonderful and I couldn’t stop myself from wanting all of it for myself.
I heard the noise of pleasure comes from him and suddenly he stopped me and laid me down in the grass next to the blanket. He wanted me as much as I wanted him. He joined me and made love to me in the grass. The breeze blowing over our bodies, the currents within exploding. He stayed on top of me and started kissing me again.

I broke the kiss and I whispered to him, "Who are you?" He simply reached for the wine and smiled. He filled my glass and placed the cup in my hand while he buttoned my blouse and smiled. I sat up and looked into his eyes, why do I feel is if I know him! He bit my thigh and I jumped spilling the wine on my skirt. I ran to the water fountain to rinse it off and when I looked back he was gone. There was no way he could have left without passing me! I was stunned. I went back to my blanket and collected my things. My book was gone, he taken it. And he had also replaced it with the book of poetry he had brought with him. There was no name written in it, no sign of who he was. Just a book of poetry and a note slipped into a fitting page of love for a moment and it read ‘Meet me in the moon light tomorrow night, I will be waiting" and it was signed no longer a secret admirer.

His Story>>>>
I saw her again yesterday. This time when I went past, she seemed to notice me. Like so many days recently, she took my breath away. I remember the first time I saw her; she was wearing a **** black dressed that crossed at the front. Today, she was carrying a picnic basket.
I ducked behind a corner and watched. Who was this woman? And more important, whom is she going to have a picnic with? I followed at a safe distance and watched her unpack & prepare a picnic for one. She started reading a book and I knew she would be there for a while. I don’t know why, but I decided to backtrack and bought collection of Emily Dickinson poems before making my way back to the park. When I got back, my heart pumped hard in my chest. I could feel a throbbing in my head as the blood coursed through my brain.

Suddenly, I was only aware of our immediate surroundings. The sun caressing my face, the wind lapping at my hair. And her. She looked radiant in the dappled light of the afternoon, her hair flowing over her shoulders. Her sensuous mouth twitched every now and again as she read. Something caught her attention and she looked up at me. I was a mess. All I could come up with was that I was a fellow nature lover. I just stood there until she invited me to sit down.
Worse still, when she asked me to join her in a glass of wine, I blurted "I’m sorry, but we both cannot fit in that glass". At least she laughed and when she handed me the wine she asked why I was there. Having made a fool of myself already, I decided that actions would speak louder than words and surprised both of us by leaning forward and kissing her.
Her mouth was beautiful- soft, full lips. I could taste the wine on her lips and as my tongue gently parted them. Her mouth opened to greet mine and I took her lower lip between my lips.
She was reluctant at first but warmed to me and I felt her hand on the back of my head pulling me to her. I was no longer aware of anything but her. Nothing else mattered.
At one point she asked me again why I was there. I couldn’t believe it when I heard myself say that I had been watching her. "Great", I thought. "Don’t worry about looking foolish because now you look like a psychopath". Deciding for the second time that silence was golden, I kissed her again. Our tongues explored each other’s mouths.
I could feel her warm breath on my face and I pressed my body firmly against hers. My leg found its way between her legs as I used it to press on her *****. Reaching for some of her strawberries, I took one in my mouth and fed her the rest. I put a strawberry half in my mouth and lent forward to give her the rest. She bit into it and our lips caressed as she swallowed it. When some juice escaped her mouth and ran down her cheek, I licked it off, running my ******* trail from the base of her neck up to her mouth.
She was now irresistible; I had to have her. I undid her dress button by button. I licked berry juice from her ****** as I felt it harden under my tongue. I ran my tongue around and around her ******, then from the base of it to the tip. I felt her back arch towards me as my hand wandered down her body. The leg, which had been pressing against her *****, was damp. Her ******* were completely soaked and I was astonished to find her completely shaven as my fingers slipped under the waistband.
She opened her legs as my fingers slipped inside her. As I let my fingers caress her ****, I kissed and nibbled my way down her body. The further I moved down, the stronger her scent became. It was intoxicating and I knew that I must have her juices flowing over my tongue. My fingers slipped under her ******* and I gently pulled them down, very slowly. She lifted herself off the ground, inviting me to take them off completely. It felt like I was 6 years old and opening a Christmas present. When they slipped off her ankles, I brought her ******* to my face and inhaled deeply.
The scent hit my nostrils and went straight to primitive parts of my brain. I dropped them and immediately ran my tongue up her inner thigh towards her *****. I stopped before my tongue reached there and let her feel my breath. I enjoyed the smell while I could as I plunged my tongue between her lips and straight into her *****, the sharp tang of her juice stimulating my taste buds.
She tasted as good as she smelled. I made my tongue rigid and slid the tip of it along her ***** up to her ****. My tongue broadened as I delicately licked her **** like it was a melting ice cream. My wet fingers found her ****** and I caressed it to the same rhythm as my tongue on her ****. I felt her ****** build up and a gush of her *** soaked my chin and my chest.
I was aroused to the point of unconsciousness when she suddenly pushed me on my back and straddled me. She was quick to free my **** and took it in her mouth and looked up at me. Our eyes met in a moment that I will never forget. We both knew what was to come. Releasing my ****, she straddled me and lowered herself onto my ****. We both gasped as she opened up and slipped over my head and down the shaft, her **** grinding against my ***** bone. We kissed deeply as our bodies united and we tasted each other’s juices. When I first saw her, I thought how much I would love to **** this angel. But we were not *******, we were making love.
At last, our bodies climaxed as we ****** hard at each other, my **** slamming hard, my ***** slapping against her *******.
We lay on the soft grass in ******* bliss and she asked me again "Who are you?". I avoided the question by biting her thigh, which made her spill her wine. I took my opportunity and left, but not before swapping books with her. I left a note for her asking her to meet me tonight. Such unimaginable beauty and sensuality can only be enhanced by the moons pale light.
a situation told by male and female perspectives
Rama Krsna Mar 2022
even
the beads of your sweat
warp
from the intense gravity
of those dense but sensuous orbs,
making a gentle detour
like a river,
before flowing into the whorl
of your beautifully chiseled navel

© 2022
was asked to write a poem where I was given three words that I should use. The worlds were sweat, gravity and navel.
CH Gorrie Sep 2012
Then Peter came to Jesus and asked, “Lord, how many times shall
I forgive my brother or sister who sins against me? Up to seven times?”
Jesus answered, "I tell you, not seven times, but seventy-seven times."
                    - Matthew the Apostle

I
Seventy-seven bottles of gin
lie in the guts of sensuous men;
seventy-seven *I forgive you
's dissolve
in a fanatical mind's resolve.

II
What offence occurred under Saint Constantine's priggish eye?
Was it specious as a Samian's thigh?
Or Sumerians receiving alien diplomats?
Maybe somewhere far under Moscow Putin's massing cloning vats...

III
Whatever discursive and belligerent milieu
church authority finds most tried and true
seems to be the most important decider
in the future of things like the Large Hadron Collider.
Perhaps, unfoundedly, they find it funny that Higgs
(though it seems much like calling the Liberal Party "Whigs")
is a name shared by a man and a theoretical particle
(though it be libelous in any journalist's article),
and thus label similar advancements as "blasphemous".
I guess that this is what it is: believing just because.

IV
Who can know blasphemy from piousness?
Maybe all Luther did was obfuscate a prior mess.

V
Seventy-seven palm-branch-adorned, donkey-riding kings:
an automatic-ring-making-machine beleaguering proselyte rings.
Teresa Magaña Feb 2012
When no one is looking
You pull and hold me into your arms
Into your bed
Savoring my kisses and caresses...that I usually hold back
Because its when no one is looking that I completely let go and give you all that I have
When no one is looking
You share your sweet words
Words that warm my heart, heat my chest
Words paired with touches from your fingertips that make me wet
When no one is looking I give into you
I devour and selfishly take all the bites I can
Knowing it drives you to the point you grasp my arms, flip me on my back...
And you begin to taste, bite, and drink of every sensuous sugar flavored bead of sweat
Sweet filled curves
Sangria flavored juices that seap through every pore
Through my vessel it pours
When no one is looking
We are in our own world
And even in a crowded room
The moment no one is looking
In that moment
Without even turning your way
I know you are staring
I feel your eyes embedding and digging their way into my flesh
Its a sensation that starts in my belly
Runs up my stomach, between my breast
Its the thoughts manifesting your hands clenching and pulling at my chest
All this, in the moment when no one is looking
A slight quick moment
We lock our eyes
Both lighting up
Both feeling the heat we know we will be in...later tonight
When no one is looking
Read this at the annual "Exotica, Erotica, Poetica" open mic event at Weeds Bar in Chicago on 2/13/12.
Sometimes the poem
doesn't want to come;
it hides from the poet
like a playful cat
who has run
under the house
& lurks among slugs,
roots, spiders' eyes,
ledge so long out of the sun
that it is dank
with the breath of the Troll King.

Sometimes the poem
darts away
like a coy lover
who is afraid of being possessed,
of feeling too much,
of losing his essential
loneliness-which he calls
freedom.

Sometimes the poem
can't requite
the poet's passion.

The poem is a dance
between poet & poem,
but sometimes the poem
just won't dance
and lurks on the sidelines
tapping its feet-
iambs, trochees-
out of step with the music
of your mariachi band.

If the poem won't come,
I say: sneak up on it.
Pretend you don't care.
Sit in your chair
reading Shakespeare, Neruda,
immortal Emily
and let yourself flow
into their music.

Go to the kitchen
and start peeling onions
for homemade sugo.

Before you know it,
the poem will be crying
as your ripe tomatoes
bubble away
with inspiration.

When the whole house is filled
with the tender tomato aroma,
start kneading the pasta.

As you rock
over the damp sensuous dough,
making it bend to your will,
as you make love to this manna
of flour and water,
the poem will get hungry
and come
just like a cat
coming home
when you least
expect her.
Robert G Page Dec 2011
by
rgpage

naked  this night on soft satin sheets
his arm ‘round her shoulders, his lover’s head rests
her hair fills his nostrils with a scented bouquet
as fingers explore love’s affectionate quest.

tenderly lips touch in a loving lead
legs interlocking add to the play.
arms then wrap tightly pulling each other in
their hearts beating faster to join in the fray.

her ******* he kisses a sensuous gift,
she feels his love grow with each loving turn.
the curve of her back feels his fondling stroke
to capture this feeling forever they yearn.

his senses now heightened, his love at the ready
to soon to the feast, the more he will miss.
he must gain control and reign himself steady
for her love, her beauty, and her freely offered bliss.

their heart guided souls in lustful play
to their senses’ delivered a bountiful tray.
their love and youth play this night away,
‘til the dawn’s early light  brings in a new day.

their lips now swollen, bruised, and red
hearts full of love, love’s watershed.
the fast night’s hours have swept past their bed
‘til night ties are severed with the sun in their stead.

as that night flew by so have the years,
his only love has since passed away.
he turns out the light perched next to the chair,
and off  to bed slowly ending his day.

their children all gone one by one they’ve all grown,
occasionally stopping by w/ little time to spare.
w/ families and jobs and homes of their own
making the time to show that they care.

even though she’s gone he’s still not alone
he talks to her daily when he is at rest.
even though she’s gone good memories he keeps
God holds the others, and he kept the best…
Ophelia Jan 2014
She was just a girl
All that time she was dead
Now she lives only for the money
Only for her lover Ag
She thinks hiis name is magical
Oh and what she would give to him
To be loved one more time

She forgot what an awesome gangster he can be
She is like a night fairy
Ready for their ride
Meets us in Montauk

Flora, why are you so shy?
A big kiss kiss from gallant
A big kiss kiss from paramour
Take her to the hollywood

The night stars saved her
Now she is a lonely rider loved by the stars
She falls in love with every man she sees
One-day lovers forever

She was blown away
To the Montauk, Montauk
What a mess she was all that time
She is fake, she flakes

She forgot what an awesome gangster he can be
She is like a night fairy
Ready for their ride
Meets us in Montauk

Flora, why are you so shy?
A big kiss kiss from gallant
A big kiss kiss from paramour
Take her to the hollywood

She is a splitting heartbreaker
He is a lustful love maker
She knows that one day they will be a perfect couple
A sensuous, caddish couple

She is a splitting heartbreaker
He is a lustful love maker
She knows that one day they will be a perfect couple
A sensuous, caddish couple

She forgot what an awesome gangster he can be
She is like a night fairy
Ready for their ride
Meets us in Montauk

Flora, why are you so shy?
A big kiss kiss from gallant
A big kiss kiss from paramour
Take her to the hollywood
Jonny Angel Jun 2014
Swollen & full,
I search her deeply,
gently push into
her sweet wetness.

It's so breathtaking,
when I pull out
then swirl back in
to the left,
then back to the right,
again & again,
from every angle,
up & down
she opens wider
& plays her part
so willingly.

I bask in her swill,
and she
does not fight me,
so wanton,
she craves this art,
the sensuous art
of French kissing.
K Balachandran Feb 2014
Inebriated blue cloud,
I know you well enough
libertine ways you have
make you a lover of
deep thunder and meek rainbow
and also a chit of a lark
that loses itself in a song
be it is in grief or mirth.

Strange is the ways of my heart,
how much I long to fall in love with you
and proclaim this to the world scheming
to disrupt the pleasures one seeks
without any reason at all
"Look! love has no limits, no reason even
the lovely cloud, softness personified
caresses my foliage with sensuous abandon
kisses me with her wispy lips of moisture"

I know you understand, though unmindful of
my unbridled passion
making breaches in the limits,
I have no illusion about our improbable union.
True, how can we live
happily ever after?
I envy your gift of wings
though you have none visible,
you borrow it from the wayward wind,
too willing to carry your sweet load around.

I stood on the hill top,
wistfully thinking
that you will come and
take me within your soft folds
though I am a tree with deep running roots
that has become a restraining thing.

Freedom without any limit
gets you inebriated every minute,
your love for love,  makes you desirable
you live in the present, suspend thoughts on time to come
as it is hypothetical, you say.
You are in a hurry to roam
wherever lovers lead you one after the other
do you have an urge to dissolve and pour-
as water, without any remorse?

Do you know my  penitence for your love
on this hilltop is a true sacrifice?
My love for you doesn't bring anything
except my wilting hour after hour.
Let me be on your blue breast for moments
when my boiling love will seek
your shining center that melts, melts
we'd freeze as one, how long my darling?
Time would simply stand still
to a distance, i'd be transported,
where tree or cloud means nothing
we are an incessant rain lasting for ever.
Your daisies have come
on the day of my divorce:
the courtroom a cement box,
a gas chamber for the infectious Jew in me
and a perhaps land, a possibly promised land
for the Jew in me,
but still a betrayal room for the till-death-do-us-
and yet a death, as in the unlocking of scissors
that makes the now separate parts useless,
even to cut each other up as we did yearly
under the crayoned-in sun.
The courtroom keeps squashing our lives as they break
into two cans ready for recycling,
flattened tin humans
and a tin law,
even for my twenty-five years of hanging on
by my teeth as I once saw at Ringling Brothers.
The gray room:
Judge, lawyer, witness
and me and invisible Skeezix,
and all the other torn
enduring the bewilderments
of their division.

Your daisies have come
on the day of my divorce.
They arrive like round yellow fish,
******* with love at the coral of our love.
Yet they wait,
in their short time,
like little utero half-borns,
half killed, thin and bone soft.
They breathe the air that stands
for twenty-five illicit days,
the sun crawling inside the sheets,
the moon spinning like a tornado
in the washbowl,
and we orchestrated them both,
calling ourselves TWO CAMP DIRECTORS.
There was a song, our song on your cassette,
that played over and over
and baptised the prodigals.
It spoke the unspeakable,
as the rain will on an attic roof,
letting the animal join its soul
as we kneeled before a miracle--
forgetting its knife.

The daisies confer
in the old-married kitchen
papered with blue and green chefs
who call out pies, cookies, yummy,
at the charcoal and cigarette smoke
they wear like a yellowy salve.
The daisies absorb it all--
the twenty-five-year-old sanctioned love
(If one could call such handfuls of fists
and immobile arms that!)
and on this day my world rips itself up
while the country unfastens along
with its perjuring king and his court.
It unfastens into an abortion of belief,
as in me--
the legal rift--
as on might do with the daisies
but does not
for they stand for a love
undergoihng open heart surgery
that might take
if one prayed tough enough.
And yet I demand,
even in prayer,
that I am not a thief,
a mugger of need,
and that your heart survive
on its own,
belonging only to itself,
whole, entirely whole,
and workable
in its dark cavern under your ribs.

I pray it will know truth,
if truth catches in its cup
and yet I pray, as a child would,
that the surgery take.

I dream it is taking.
Next I dream the love is swallowing itself.
Next I dream the love is made of glass,
glass coming through the telephone
that is breaking slowly,
day by day, into my ear.
Next I dream that I put on the love
like a lifejacket and we float,
jacket and I,
we bounce on that priest-blue.
We are as light as a cat's ear
and it is safe,
safe far too long!
And I awaken quickly and go to the opposite window
and peer down at the moon in the pond
and know that beauty has walked over my head,
into this bedroom and out,
flowing out through the window screen,
dropping deep into the water
to hide.

I will observe the daisies
fade and dry up
wuntil they become flour,
snowing themselves onto the table
beside the drone of the refrigerator,
beside the radio playing Frankie
(as often as FM will allow)
snowing lightly, a tremor sinking from the ceiling--
as twenty-five years split from my side
like a growth that I sliced off like a melanoma.

It is six P.M. as I water these tiny weeds
and their little half-life,
their numbered days
that raged like a secret radio,
recalling love that I picked up innocently,
yet guiltily,
as my five-year-old daughter
picked gum off the sidewalk
and it became suddenly an elastic miracle.

For me it was love found
like a diamond
where carrots grow--
the glint of diamond on a plane wing,
meaning:  DANGER!  THICK ICE!
but the good crunch of that orange,
the diamond, the carrot,
both with four million years of resurrecting dirt,
and the love,
although Adam did not know the word,
the love of Adam
obeying his sudden gift.

You, who sought me for nine years,
in stories made up in front of your naked mirror
or walking through rooms of fog women,
you trying to forget the mother
who built guilt with the lumber of a locked door
as she sobbed her soured mild and fed you loss
through the keyhole,
you who wrote out your own birth
and built it with your own poems,
your own lumber, your own keyhole,
into the trunk and leaves of your manhood,
you, who fell into my words, years
before you fell into me (the other,
both the Camp Director and the camper),
you who baited your hook with wide-awake dreams,
and calls and letters and once a luncheon,
and twice a reading by me for you.
But I wouldn't!

Yet this year,
yanking off all past years,
I took the bait
and was pulled upward, upward,
into the sky and was held by the sun--
the quick wonder of its yellow lap--
and became a woman who learned her own shin
and dug into her soul and found it full,
and you became a man who learned his won skin
and dug into his manhood, his humanhood
and found you were as real as a baker
or a seer
and we became a home,
up into the elbows of each other's soul,
without knowing--
an invisible purchase--
that inhabits our house forever.

We were
blessed by the House-Die
by the altar of the color T.V.
and somehow managed to make a tiny marriage,
a tiny marriage
called belief,
as in the child's belief in the tooth fairy,
so close to absolute,
so daft within a year or two.
The daisies have come
for the last time.
And I who have,
each year of my life,
spoken to the tooth fairy,
believing in her,
even when I was her,
am helpless to stop your daisies from dying,
although your voice cries into the telephone:
Marry me!  Marry me!
and my voice speaks onto these keys tonight:
The love is in dark trouble!
The love is starting to die,
right now--
we are in the process of it.
The empty process of it.

I see two deaths,
and the two men plod toward the mortuary of my heart,
and though I willed one away in court today
and I whisper dreams and birthdays into the other,
they both die like waves breaking over me
and I am drowning a little,
but always swimming
among the pillows and stones of the breakwater.
And though your daisies are an unwanted death,
I wade through the smell of their cancer
and recognize the prognosis,
its cartful of loss--

I say now,
you gave what you could.
It was quite a ferris wheel to spin on!
and the dead city of my marriage
seems less important
than the fact that the daisies came weekly,
over and over,
likes kisses that can't stop themselves.

There sit two deaths on November 5th, 1973.
Let one be forgotten--
Bury it!  Wall it up!
But let me not forget the man
of my child-like flowers
though he sinks into the fog of Lake Superior,
he remains, his fingers the marvel
of fourth of July sparklers,
his furious ice cream cones of licking,
remains to cool my forehead with a washcloth
when I sweat into the bathtub of his being.

For the rest that is left:
name it gentle,
as gentle as radishes inhabiting
their short life in the earth,
name it gentle,
gentle as old friends waving so long at the window,
or in the drive,
name it gentle as maple wings singing
themselves upon the pond outside,
as sensuous as the mother-yellow in the pond,
that night that it was ours,
when our bodies floated and bumped
in moon water and the cicadas
called out like tongues.

Let such as this
be resurrected in all men
whenever they mold their days and nights
as when for twenty-five days and nights you molded mine
and planted the seed that dives into my God
and will do so forever
no matter how often I sweep the floor.
Nay, let us walk from fire unto fire,
From passionate pain to deadlier delight,—
I am too young to live without desire,
Too young art thou to waste this summer night
Asking those idle questions which of old
Man sought of seer and oracle, and no reply was told.

For, sweet, to feel is better than to know,
And wisdom is a childless heritage,
One pulse of passion—youth’s first fiery glow,—
Are worth the hoarded proverbs of the sage:
Vex not thy soul with dead philosophy,
Have we not lips to kiss with, hearts to love and eyes to see!

Dost thou not hear the murmuring nightingale,
Like water bubbling from a silver jar,
So soft she sings the envious moon is pale,
That high in heaven she is hung so far
She cannot hear that love-enraptured tune,—
Mark how she wreathes each horn with mist, yon late and labouring moon.

White lilies, in whose cups the gold bees dream,
The fallen snow of petals where the breeze
Scatters the chestnut blossom, or the gleam
Of boyish limbs in water,—are not these
Enough for thee, dost thou desire more?
Alas! the Gods will give nought else from their eternal store.

For our high Gods have sick and wearied grown
Of all our endless sins, our vain endeavour
For wasted days of youth to make atone
By pain or prayer or priest, and never, never,
Hearken they now to either good or ill,
But send their rain upon the just and the unjust at will.

They sit at ease, our Gods they sit at ease,
Strewing with leaves of rose their scented wine,
They sleep, they sleep, beneath the rocking trees
Where asphodel and yellow lotus twine,
Mourning the old glad days before they knew
What evil things the heart of man could dream, and dreaming do.

And far beneath the brazen floor they see
Like swarming flies the crowd of little men,
The bustle of small lives, then wearily
Back to their lotus-haunts they turn again
Kissing each others’ mouths, and mix more deep
The poppy-seeded draught which brings soft purple-lidded sleep.

There all day long the golden-vestured sun,
Their torch-bearer, stands with his torch ablaze,
And, when the gaudy web of noon is spun
By its twelve maidens, through the crimson haze
Fresh from Endymion’s arms comes forth the moon,
And the immortal Gods in toils of mortal passions swoon.

There walks Queen Juno through some dewy mead,
Her grand white feet flecked with the saffron dust
Of wind-stirred lilies, while young Ganymede
Leaps in the hot and amber-foaming must,
His curls all tossed, as when the eagle bare
The frightened boy from Ida through the blue Ionian air.

There in the green heart of some garden close
Queen Venus with the shepherd at her side,
Her warm soft body like the briar rose
Which would be white yet blushes at its pride,
Laughs low for love, till jealous Salmacis
Peers through the myrtle-leaves and sighs for pain of lonely bliss.

There never does that dreary north-wind blow
Which leaves our English forests bleak and bare,
Nor ever falls the swift white-feathered snow,
Nor ever doth the red-toothed lightning dare
To wake them in the silver-fretted night
When we lie weeping for some sweet sad sin, some dead delight.

Alas! they know the far Lethaean spring,
The violet-hidden waters well they know,
Where one whose feet with tired wandering
Are faint and broken may take heart and go,
And from those dark depths cool and crystalline
Drink, and draw balm, and sleep for sleepless souls, and anodyne.

But we oppress our natures, God or Fate
Is our enemy, we starve and feed
On vain repentance—O we are born too late!
What balm for us in bruised poppy seed
Who crowd into one finite pulse of time
The joy of infinite love and the fierce pain of infinite crime.

O we are wearied of this sense of guilt,
Wearied of pleasure’s paramour despair,
Wearied of every temple we have built,
Wearied of every right, unanswered prayer,
For man is weak; God sleeps:  and heaven is high:
One fiery-coloured moment:  one great love; and lo! we die.

Ah! but no ferry-man with labouring pole
Nears his black shallop to the flowerless strand,
No little coin of bronze can bring the soul
Over Death’s river to the sunless land,
Victim and wine and vow are all in vain,
The tomb is sealed; the soldiers watch; the dead rise not again.

We are resolved into the supreme air,
We are made one with what we touch and see,
With our heart’s blood each crimson sun is fair,
With our young lives each spring-impassioned tree
Flames into green, the wildest beasts that range
The moor our kinsmen are, all life is one, and all is change.

With beat of systole and of diastole
One grand great life throbs through earth’s giant heart,
And mighty waves of single Being roll
From nerveless germ to man, for we are part
Of every rock and bird and beast and hill,
One with the things that prey on us, and one with what we ****.

From lower cells of waking life we pass
To full perfection; thus the world grows old:
We who are godlike now were once a mass
Of quivering purple flecked with bars of gold,
Unsentient or of joy or misery,
And tossed in terrible tangles of some wild and wind-swept sea.

This hot hard flame with which our bodies burn
Will make some meadow blaze with daffodil,
Ay! and those argent ******* of thine will turn
To water-lilies; the brown fields men till
Will be more fruitful for our love to-night,
Nothing is lost in nature, all things live in Death’s despite.

The boy’s first kiss, the hyacinth’s first bell,
The man’s last passion, and the last red spear
That from the lily leaps, the asphodel
Which will not let its blossoms blow for fear
Of too much beauty, and the timid shame
Of the young bridegroom at his lover’s eyes,—these with the same

One sacrament are consecrate, the earth
Not we alone hath passions hymeneal,
The yellow buttercups that shake for mirth
At daybreak know a pleasure not less real
Than we do, when in some fresh-blossoming wood,
We draw the spring into our hearts, and feel that life is good.

So when men bury us beneath the yew
Thy crimson-stained mouth a rose will be,
And thy soft eyes lush bluebells dimmed with dew,
And when the white narcissus wantonly
Kisses the wind its playmate some faint joy
Will thrill our dust, and we will be again fond maid and boy.

And thus without life’s conscious torturing pain
In some sweet flower we will feel the sun,
And from the linnet’s throat will sing again,
And as two gorgeous-mailed snakes will run
Over our graves, or as two tigers creep
Through the hot jungle where the yellow-eyed huge lions sleep

And give them battle!  How my heart leaps up
To think of that grand living after death
In beast and bird and flower, when this cup,
Being filled too full of spirit, bursts for breath,
And with the pale leaves of some autumn day
The soul earth’s earliest conqueror becomes earth’s last great prey.

O think of it!  We shall inform ourselves
Into all sensuous life, the goat-foot Faun,
The Centaur, or the merry bright-eyed Elves
That leave their dancing rings to spite the dawn
Upon the meadows, shall not be more near
Than you and I to nature’s mysteries, for we shall hear

The thrush’s heart beat, and the daisies grow,
And the wan snowdrop sighing for the sun
On sunless days in winter, we shall know
By whom the silver gossamer is spun,
Who paints the diapered fritillaries,
On what wide wings from shivering pine to pine the eagle flies.

Ay! had we never loved at all, who knows
If yonder daffodil had lured the bee
Into its gilded womb, or any rose
Had hung with crimson lamps its little tree!
Methinks no leaf would ever bud in spring,
But for the lovers’ lips that kiss, the poets’ lips that sing.

Is the light vanished from our golden sun,
Or is this daedal-fashioned earth less fair,
That we are nature’s heritors, and one
With every pulse of life that beats the air?
Rather new suns across the sky shall pass,
New splendour come unto the flower, new glory to the grass.

And we two lovers shall not sit afar,
Critics of nature, but the joyous sea
Shall be our raiment, and the bearded star
Shoot arrows at our pleasure!  We shall be
Part of the mighty universal whole,
And through all aeons mix and mingle with the Kosmic Soul!

We shall be notes in that great Symphony
Whose cadence circles through the rhythmic spheres,
And all the live World’s throbbing heart shall be
One with our heart; the stealthy creeping years
Have lost their terrors now, we shall not die,
The Universe itself shall be our Immortality.
ryn Aug 2014
Sigh! It's so boring! Life's but a loop
Wish I could run with a circus troupe
Or maybe join a rock climbing group
Why doesn't 'coup' sound exactly like 'coop'
'Coop' rhymes with 'soup' which is 'coup' with an 'S'
I'm late, in hot soup! What a mess!

Work...work... Gotta get to work. I'm late
Aww man...did you really have to lock the gate??
Splendid, terrific, this is just great!
Who the heck puked on this floor made of slate

I'm out and it's pouring now. The rain will wash it away
Sh*t! It's pouring and I'm stranded, no brolly. Yay...!

Stranded...thank goodness I have music
Choose shuffle and then click
Through my plugs, stream out N'Sync
I know... I know... I know what you must think

I think I have to think of something
Take shelter for now is what I'm thinking

Or maybe I should call in sick
No...no... It's the last day of the week
A taxi! A taxi I should seek!

A taxi would quicken my pace
If I can get one in the first place
If only I hadn't sold... I still had my bike
My head wouldn't potentially be on a pike

Miss my bike, her knobby tyres, she was my Winona Ryder
Sensuous and sleek, my Yamaha with jet black fender
Ride a bike, must wear shoes. Much safer

Love my shoes, I own more than a dozen
Nails need trimm... Oh look! A ******* raven!

No... a crow... Well, some bird stranded like me
Can't fly on wet feathers seeking refuge under a tree

Wait a second! Where was I?
Oh nails! Trimming tonight, I must try
Clean fingernails, everyone likes
***! I'm still stranded! Yikes!

Brave the rain, walk briskly, no time to waste
Move quickly, go on...make haste!

Care not for getting wet
Go now! Ready...get set...
Awgh! Didn't zip up my bag
This just adds on to my lag

ZIPP!
TRIP!

Tripped over a stone
No one saw, luckily I'm alone!

Gee... I have 21 bags, perhaps too many for a guy
Must go jogging tonight, next week or maybe next July
Oh shoot, shoelace's undone...now I've got to tie
Text message in on my phone, volume set on high

Work just texted, asking so many questions
Among which - "Have you submitted last week's requisitions?"
Why do we text when we can talk
People don't meet anymore, on Facebook they rock

Hmm beginning to hate Facebook but I still do check
Woohoo! Found a coin by the grass verged track
Oh ten cents, well it's still money
I'll save it, it'll come in handy
Perfect! Now I'm wet
Because of the coin I tried to get

Hmm...where was I again?
Gosh my mind's like a derailed train
One of those days I guess I'll remain...
A...

          S CA  TTE  RB RA  I    N

.
And I'm still NOT AT WORK!!!! But at least I'm 10 cents richer!
Axion Prelude Dec 2017
Seasons pass, tempered by insalubrious fervor; treasonous design remiss of fate

An echo of prior songs resonate somber atrophy; mourn the passing of  constant defeat, stained by triumphant dissonance and disdain

Fear strides along the broken path, left alone and solemn and crass: Through sour feats of vindication, tones of plight become dismissed

Surfeit, the sound of temptation rides upon the crest of dawn, blinding darkness like calming waves caressing infinite stretches of sand: soft and warm; kind and welcoming, embracing in its gentle touch

Sentience hides behind a creeping fog, whispering secrets of life eternal, bearing gifts wrought through sensuous candor

Two threads lost, now found; slowly bonding, uniting purpose, rhythm, rhyme, and reason; born from the same cloth, garnering habit, singing in harmony what echoes from within

Beautiful, intelligent, staunch with profundity; stark, handsome, wholesome, and good

The call of a true home may finally beckon..
Nigel Morgan Apr 2013
after the painting by Mary Fedden

I kept seeing her around and about, but mostly on the beach. This is a small community and after five years or so I know who everyone is, except those who visit in the summer, though I am getting to know some of the regulars. I reckon she’s my age. When she looks at me in the store, and I look at her and smile, her smile tells me these things.

I have trouble with my hair. It’s thinned and doesn’t grow quite as it should. When I was pregnant and then nursing my children it was positively luxuriant. But later, and despite medical advice (and treatment I was unsure about and abandoned) it became an embarrassment, until he reassured me (just once) and I became an ‘adored woman’. He never ever spoke of it again and loved me so wholly and beautifully I had no reason for it to matter in his company, in his arms.

But seeing her, and often on the beach, more and more regularly, seeing her with her mane of strong dark brown hair flowing behind her in the wind, I felt a curious desire for such a wealth of hair. In fact, I began to feel something stir in me that was desire of a different kind. I can’t think I had ever looked at a woman in quite that way in any previous life. It was always men I sought, I wanted.

Her name is Sara, no h, just an A at the end. She said that when I eventually introduced myself. We were walking towards each other, barefoot both on that glistening skin of water the sea creates between the tides coming and going. It was about midday and I was, I was thinking and walking. I do this now. I don’t bring my sketchbook, I don’t look everywhere I can and more so, I have begun to retreat into my most private self. Perhaps it’s my age and so many years of feeling I had to be wholly attentive and active. Being in this remote place, almost permanently, has slowed me down, and I have begun to dream, to see beyond what I usually would have seen moment to moment. I’ve been re-reading the prose and poetry of Kathleen Raine, who understood this sea-swept place and was haunted by its ghosts, and who dreamed.

Never, never, again
This moment, never
These slow ripples
Across smooth water,
Never again these
Clouds white and grey
In sky crystalline
Blue as the tern’s cry
Shrill in the light air
Salt from the ocean,
Sweet from flowers

Oh yes,  
‘the sun that rose this morning from the sea will never return . . .’* I have become a watcher, no longer an observer. I put my camera away last winter and now hold moments in my memory. Here I can sketch. I can have all the time I need, and more. And I knew when I began to talk to Sara I wanted beyond anything else to sketch her, to know her line by line with the pen, and later bring the texture of her into paint.

Painting is where I am now. It’s direct, mesmeric, challenging, wholly absorbing. My needles and thread only deal with our clothes, my clever printing and collaging lies dormant in my studio, a studio I rarely enter now. I have a room upstairs in the loft that is all light and sky. There’s just an easel, a table, a chair, a small bookcase, a trolley-thing of paints and brushes. Even that’s too much. I always collected things around me. I brought so much in from outside and now I’m trying, trying to have as little as possible. This is where I will paint Sara. I’m already thinking this as we take the first tentative steps towards knowing one another. Names, where we live, (we both know). Partners, family, children? I have all this, but not here, only my companion, my love who caresses me with such care and attention. There are my cats and my hens. She has no one, or rather she talks of no one. She asks the questions and avoids giving answers. She just nods and doesn’t answer. Otherwise, she’s a straight yes / no person. She doesn’t feel she has to qualify anything.

We’re standing together. We’re intent on looking at each other. Words seem a little unnecessary because what we both want to do is look. ‘I can tell you paint’, she says, ‘It’s your finger nails’. My perfect nails and the pads of my fingers hold the evidence of a morning at my easel. ‘I have seen your work’, she says, ‘One could hardly not. You’re well known beyond these shores.’ I feel myself blushing slightly. I thought blushing had stopped with the menopause, not that it troubled me much, the menopause that is. Blushing though was a torturous part of my adolescence, but let’s not go into that.

‘Your husband,’ she says, ‘he’s up very early. I see him sometimes here, on the beach.’
‘Do you get up at five?’ I am surprised. My husband gets up before five.
‘Sleep is difficult sometimes. I walk a lot. I need to be out, and walk.’

Her face, her head is larger than mine. She is a larger woman altogether, bigger *****, long-legged, but with youthful ******* that seem taut and well-rounded under her brown frock, no, her brown dress. I only think frock because that’s what he says – ‘I love that frock.’ And he means usually whatever I am wearing now that’s old and rich in memories of his hands knowing me through a dress, sorry a frock, which remains for me (and possibly for him) the most sensuous of sensations, still. Au nature has its place, and I love the rub of his skin and body hair. But when we are lovers, and we are still lovers and usually when travelling, in hotel rooms or borrowed cottages, or visiting friends and dare I say it, staying with our various children. Last autumn in Venice, in this large, amazing marble-tiled room, with this huge bed, he undressed me in front of a window opening onto our own terrace, and I was beside myself with passion, desire, oh all those wonderful things. And for months afterwards I would return to that early evening, remembering the lights coming on all over the watered city as he kissed and stroked and brushed my body through my Gudrun Sjödén frock. I would replay, find again over and over, those exquisite moments of such joyful touching as he then undressed me, and with such care and tenderness I felt myself crying out. Well, he says I did. In one of his poems (for your eyes only, he had whispered) he admits to his own celebration of those moments again, again.

Sara’s dress is calf-length. There’s nothing else. As the breeze wraps itself around the loose-fitting brown cotton her naked figure is revealed inside itself. No ring, no jewellery, nothing to hold her hair now flowing behind her. She has positioned herself so it does; flow out behind her. This is so strange. Am I dreaming this? We have become silent and together look in silence at the sea. I can hear her short breathes. She turns to me with a smile and looks straight into my eyes – and says nothing – and then walks backward a few steps – still with her warm smile – turns and walks away.

I tell him I met Sara today and ask if he sees her on the beach in the early mornings. Yes, he has, in the distance, mostly. He has said good morning to her on a few occasions, but she has smiled and said nothing. Five o’clock is far too early to say anything, he says. She swims occasionally. I keep my distance, he says with a grin.

I tell him I would like to paint her. I should, he says, You should go and ask her, do it, get it done and out of your system. It’s time you stopped being afraid of the face, the portrait, the figurative. I’d give so much to have been able to paint you, he says ruefully, my darling, my dearest. And he strokes my arm, kisses my cheek, then, he slowly and carefully kneels down beside my chair, places his arm across the top of my thighs so when I bend to kiss him his bare forearm touches the edge of my *******. He puts his head in my lap, and I caress his ears, his quite white hair.

Sara’s door is open. She’s living in Ralph’s cottage, a summer-let habitable (just) in the nearly autumn time it is. I call, ‘Sara, it’s me’, thinking she’ll recognize my voice, not wishing to say my name. She appears at the door. ‘I have the kettle on, she says, ‘I had a feeling you might be by.’ Her accent is, like mine, un-regional, carefully articulated, a Welsh tinge perhaps. There’s an uplift and a slowness in some of the vowels. ‘You will come in’, she says, more a statement than a question. It’s rather dark inside. There’s a reading lamp on, but she has the chair, her chair, close by the window. There are letters being written. There are books. Not Ralph’s, but what she has brought with her. Normally, I would be hopelessly inquisitive, but I can’t stop myself looking at her, wondering even now, in these first few moments in this dark room, how I will position her to paint her form, her face, her nature. What will I paint? I look at her still-bare feet, her large hands.

And so, with mugs of tea, Indian tea I don’t drink, but here, as her guest I do, but without milk, we sit, I on the only other chair (from the kitchen) she on the floor. And she watches me look about, and look at her.

‘I’m rather done with talking, with polite conversation. That’s why I’m here to be done with all that for a while.’
‘I came to ask you to sit for me. To let me draw you, paint you even. You can be completely quiet. I won’t say a word. I’ve never, ever asked anyone to sit for me. I’m not that sort of painter. But when I saw you on the beach it was the first thing that came into my head.’
‘I should be flattered. Though I have sat for artists before, when I was a little younger,’ surprisingly she mentions two names I know, both women. ‘I know how to be still. But, those are days in a different life.’
‘I only want to paint you in the life you have now.’ And I realise then that what I want to paint was Sara’s ‘aloneness’. I think then I have never been truly alone since he came into my life and took any loneliness I had from me. Whenever we are apart, and still there are times, he writes to me the tenderest letters, the most touching poems, he quotes his Chinese favourites down the telephone. We always, always speak to each other before bed, even when we are on different continents and time-zones. He told me I was always his last thought before sleep. And I wonder if I would be his last thought . . .

‘Do you want to do this formally?, said Sara.
‘I don’t know. Yet. I’d like to draw you first, be with you for a little while, perhaps to walk. A little while at a time. Whatever might suit you.’
‘Would you pay me? I have little money. It would be useful.’
‘Of course’, I say this directly, having no idea about what one pays a model. He will know though. He knew Paula Rego and didn’t she have a female model? I think of those large full-length figures rendered in pastels. Her model’s name was Lila, who for more than 25 years, had sat for her, stood for her, crouched for her, hour after hour and day after day. I remember a newspaper piece that went something like this: since 1985 Lila has helped to give life, in paint, and pastel, and charcoal, to the characters in Paula Rego's head. Lila was all Paula Rego’s women.

‘Sara’, I said, ‘help me please. It’s taken more than a little courage to come to see you, to ask you. My husband says I should do this, finally get myself painting the person, the face, body, not as some exercise in a life class, but the real thing.’
‘Of course’, she says, ‘Let’s go and walk to the point.’

And we did. Not saying very much at all, but I suppose I did. She made me talk and gradually I laid my life out in front of her, and not the life she would have found in those glossy monographs and catalogue introductions, and God forbid, not in those media features and interviews that I suppose have made me a name I’d always dreamed of becoming, and now could do without.

‘I suppose you have a studio’, she said suddenly, ‘Is that where you’d want me to come?’
‘Yes, I have a studio. No, I don’t think I want you to come there. Not at first anyway.’ I was floundering. ‘ I’d like to draw you, paint you possibly on the beach, where we met, so there would be sea and sky and breeze blowing your hair.’
‘And a steamer out on the horizon belching smoke from its funnel and the sea blowing white horses and dancing about. I’d be right by the seastrand with waves and spray and foam, and under a greyish sky. Not a sunny day. A breezy day. In my brown dress, sitting on the sand by the tide marks, looking out to sea, looking at the steamer away in the distance, sitting with my left hand behind me holding myself up, and the shape of my legs akimbo bent slightly under my brown dress. How would that be?’
‘Perfect’, I said.

And it was.
PNasarudheen Feb 2012
Mary plants stems of roses
Happy is her sensuous senses.
Rosy roses reddish ,yellow
Dribbling dews on petals glow.
Sandy was her piece of land ,still
Mixing humus made she fertile.
Grow up mango, cashew trees now
Hellish heat around falls low.
All the birdies, human beings with
Rolling breeze’s blessing grew forth.
Nurture Nature for our future
Save our culture agriculture.
Greenery is her granary giving
Honey, money, feeling pleasing.
Waves on beaches softly recede
Crawling ripples crippling proceed.
Do you know? lives here sustain
Only through eternal restrain.
Gain for all lies where interactions
Divine hold our honest actions
=============================
Ben Dec 2011
converse kicks
lead up to lengthy legs
soft as silk
flowing through my finger tips
the wrinkled sheets gather round
trapping our heat
in this sweaty mound
of limbs
tangled too close to be separate
joined as one
not at the hip
but quite close
awkward laughter
leads to young love
and sensuous sighs
escape past locked lips
and fly through the open window
coming to rest on the rooftop
where we first kissed
She married off to a village chief at age of 14,
But only after being chopped of a ******* in a Maasai
Ritual of FGM, chlitoridectomy or you name it,
For the African elders strictly marry circumcised virgins,
What a ritual so pernicious that my nerves panic with fire.
She gets into a marriage now, Male sided marriage,
Where women and distaff are seen, but not heard whatsoever,
It is her well rounded buttocks, sharply ***** *****
Tight thighs and sweet sensuous moans to be made in bed
That matters most, but not her thoughts not even human feelings.
She starts of her day by morning glory; early morning *** at 5.30,
Then she jumps of her bed, whether sexually satisfied or not,
She goes straight for her broom then begins sweeping,
And scrapping her house, the main house then the kitchen,
No brassiere under her blouse or lingerie under her skirt,
For you never can tell when the chief’s cloud will accumulate,
Into thunderous rain, ready for planting and planting,
She then prepares porridge from millet and sorghum
Or Soya beans, ground nuts and simsim for the children
To take before they leave to school, both her children,
And those sired through out-growing by her husband,
Then she goes at the cow shed to milk her native cows,
Which she milks by dodging ceaseless kicks from the angst ridden cow,
She sings and whistles hymns for the cow to calm and stand balmy,
But coincidentally her last-born baby, three months old boy,
Named after the paternal grandfather wakes up,
Starts crying and croaning for attention, suckling,
She shelves milking aside, and rushes to pick the baby up
Not because of anything but lest its crying may disturb her husband
From sweet morning sleep, it is so bad and punishable.
She picks back the baby, using a shawl as a cot,
Then comes back to the milking shed, to resume her work,
Only to come to a surprise; the calf un-knoosed itself
And has suckled its mother’s udder dry, foam frothing
At the mandibles; she picks two litres of milk to her house
To the kitchen, starts cooking for her husband, two calabashes
Of tea, over spiced with milk and Kericho tea leaves,
As the husband is called to a treat of mellifluous tea,
She jumps at washing her husband’s clothes;
Unmarried brother-in-law passes by, and runs back to his cottage,
Scoops and brings his grimed Jeans Levis Straus trouser,
Also to be washed by his in-law, as the woman belongs
To the clan, to the entire community but not singly to the man
Or the husband who married her, she washes it minus qualm,
Lunch hour knocks, she rushes to the kitchen and cooks,
For the children are about to come from school, they must eat
Eat on time, if not declare this woman a public disgrace
Who can not cook for the community, forget of the children,
Evening comes; she cooks again, her baby still on the back,
The husband complains of the food being not delicious,
Salt was not enough, she did not put in pepper; a stupid woman!
She accepts her mistake and apologizes effusively, or else fire!
She goes to mend the bed for the husband to rest, plus the baby,
She goes out behind the hut to take a bath,
The husband has not yet constructed a bathroom,
For fear that evil neighbours can plant there voodoo
It can **** the husband to forego his wives and cows,
She comes back to her bedroom, when drying herself up,
The husband goes up in libido; he forcefully shoves her to the bed
As the giggles desperately, he jumps on her bust, minus foreplay,
No single kissing, pinching, nor fondling of the breast or even kissing her
On the stunted *******, he penetrates her mechanically, like a block of stone
He introduces himself deep and deeper into her,
Then he releases warm ***** into her, before even she is aroused
He falls asleep like a log of wood, leaving her wide awake on a flame
Flaming ****** desire, burning and torturing her like an abyss.
This rhythm repeats like a circa, on a pattern of regular basis,
She endured and finishes one year without getting pregnant,
The husband gets self-suspicious and irritated, very irked,
As per why the woman on whom his cows were wasted is not receiving
His very powerful seeds, to become pregnant, to carry his son,
He beats her up, ruthless flogging and kicking, kicking her buttocks,
Insulting and lambasting in heavyweight measure, down to ash pit
She apologizes and promises to be pregnant in a fortnight,
To which the man accedes; but…but…but let it be
That you miss to be pregnant, I will chase you away,
I will repossess my cows, I squandered on you
In payment of your pride price; dowry
To marry a reproductively better wife.
(translated into Germany as below)

FRAU OHNE FREIHEIT FUR GEWISSEN

Sie ist erst vor heiraten
Zu ein Holunder im Dorf,
Gerade noch im Alter von vierzehn
Aber danach sie klitoris,
Auf traditionell rituell von Maasai
Wiel afrikanisch mann streng
Heiraten Jungfrau wer  er bescheiden,
Sie begin ihr tag am morgen
Mit verkehr bei tagesanbruch,
Dann sie sprung vor der Bett,
Und direct sie gehen fur besen,
Sie haben ein kinder auf ihr Ruckeseite,
Dann sie gehen draussen au kuhstall
Sie begin melekn die kuh ahnlich der fabric
Dann sie gehen au kuche
Zu Koch Tee fur ihr mann
Wer ist schlafend im der haus
Danach ihr mann haben tee trinken,
Sie gehen draussen fur next kempf
Sie begin wasche kleider
Von ihr mann und die schwiegereitern,
Weil afikanisch frau gehoren zu gemeinschaft
Aber nicht zu individuell mann.
Sie wasche der kleider ohne bendenken,
Dann mittagszeit klopftes
Sie gehen au der kuche zu Koch
Dann ihr mann essen ahnlich schwein,
Abend kommen fur ihr ein pause machen,
Die kinder still auf ihr Ruckseite
Sie jetzt hinstzen die kinder auf Bett,
Wo ihr mann ist still schlafend,
Wann sie beginn ausiehen sich
Ihr  mann auf Bett gehen Libido
Er stossen sie auf der Bett,
Und sprungen auf ihr Buste
Ohne kussen , er eindringen  ihr,
Tief und tief er eindringen ihr
Ahnlich ein klotz von Holz.
Ihr liebe ist ahnlich diese zeiteleute,
Fur diese frau wer haben nicht
Freiheit fur gewissen sosehr sie kempf.

*****Vergnugen******
bobby burns Jul 2013
i want: an elbow-crook to rest my head
             a cigarette to share,
             naked forms in riverbeds
             and universal train fare.

i need: breastplate percussion under my ear,
            a breathing on my spine,
             a sunrise built -- my eyes to sear,
             and send me to my sign.
to a boy named sam because i never got to say mine
Kim E Williams Sep 2014
Lust
One of those words that turns you
Grabs likes and causes comments
Lustful
Lingering upon lust
Requires courage for we can be trapped
Inside her endless taunting and tasting
Saltiness of you while waves crashing
Cause us to linger...lost
In the luscious luxury of you
Lust...
Shhhhhh...
We dare not speak your other names
***
Passion
Pleasure
Self satisfaction
Sultry sensuous
Luxurious lust...
So, did you linger here long enough?..

— The End —